<p><span style=""></span></p><p><span style=""></span></p><p>The Welsh artist evokes Frank Stella, Alexander Calder, and Marcel Duchamp in double exhibitions at Marian Goodman Gallery in Paris and New York</p>

Matthieu Jacquet

Cerith Wyn Evans’s luminous and poetic ballets

<p>In collaboration with <em>Numéro art</em></p><p>Milan, late October, 2019: At the Pirelli Foundation, visitors discovered seven 20-meter-high luminous columns rising in the giant space of the HangarBicocca. These impressive sculptures made of vertical fluorescent tubes immediately hinted at ancient architecture, especially the Doric order found in ancient Greek temples. Yet, the show didn’t stop there; in the darkness of the former warehouse, the artworks were gradually switched on and off to create a captivating visual ballet for the viewer. It was with that cathedral-inspired installation that&nbsp;<a href="https://www.artbasel.com/catalog/artist/9870/Cerith-Wyn-Evans">Cerith Wyn Evans</a> introduced his major solo exhibition in the Italian institution, asserting from the start the stakes of his practice – exploring the links between light, sound, and space to write a multisensory poetry. </p><p>More than three years later, the Welsh artist once again presents a smaller version of these columns in the basement of&nbsp;<a href="https://www.artbasel.com/catalog/gallery/1198/Marian-Goodman-Gallery">Marian Goodman Gallery</a> in Paris, which is dedicating a solo exhibition to him until February 25, hand in hand with one at the gallery’s New York branch (until March 4). Thanks to new artworks designed for the exhibitions, his artistic practice is enriched by several explicit references to artists who have made an impression on him, from&nbsp;<a href="https://www.artbasel.com/catalog/artist/7557/Frank-Stella">Frank Stella</a>&nbsp;to&nbsp;<a href="https://www.artbasel.com/catalog/artist/7356/Marcel-Duchamp">Marcel Duchamp</a>.</p>

<p>Would he like to expand his business in Paris? It is already the case, he says, by way of off-site exhibitions, such as the Carla Accardi show organized at Le Corbusier’s jewel of a building, Maison La Roche, for the first edition of Paris + par Art Basel. He plans to pursue other exceptional projects like this ‘fine example of how art dialogues with architecture.’ This is without doubt one of his mantras – the white cube is not really for him. ‘Architecture is one of the key elements of our activity.’ </p><p>In each city where he has installed a gallery, De Carlo has selected sites charged with soul. Since 2019, his gallery in Milan has been located in the Casa Corbellini-Wassermann, an icon of 1930s architecture, replete with marble and woodwork. ‘We’ve had it with the cliché of the minimalist space, where the art is supposed to be the sole actor,’ he affirms. In London, he has just restored a Mayfair apartment whose walls he painted a luminous sea-green – the original color dating back to 1723, unearthed in poor condition. ‘Maybe it’s too green? In any case, we’re happy we did it! Our artists adore this kind of context, and that’s all that matters.’</p><hr /><p>Emmanuelle Lequeux is a journalist based in Paris.</p><p><a href="https://www.artbasel.com/catalog/gallery/1104/Massimo-De-Carlo">Massimo De Carlo</a> will be part of the&nbsp;Galleries and Kabinett sectors in the upcoming edition of Art Basel Miami&nbsp;Beach,&nbsp;from December 1 – 3, 2022.</p><p>Caption for full-bleed images:&nbsp;Massimo De Carlo by Bettina Pittaluga for Paris+ par Art Basel, 2022.</p><p>English translation: Jacob Bromberg</p>

<p>Keen eyes familiar with 20<sup>th</sup>-century painting are likely to notice that the patterns drawn by these luminous structures explicitly refer to Frank Stella’s ‘Black Paintings’, a series of paintings made by the American artist between 1958 and 1960. In his new pieces, Wyn Evans translates the American painter’s black stripes separated by white lines into neon lights. The old opaque canvas now becomes an open, porous surface in which viewers are invited to let their eyes wander between the thin luminescent cylinders in the exhibition space and the building’s inner courtyard, visible through the large arched windows. The Welsh artist’s skillful pastiche allows him to both embrace and offer an adaptation of the original artwork.</p><p>The first basement room highlights his approach with a dozen cracked windscreens floating in the air thanks to wires placed around the light columns. Recalling Alexander Calder’s signature 1932 sculptures of the same name, these ‘mobiles’ swap the plain metal pieces for laminated glass car parts salvaged from a rubbish dump near Paris. Just like Duchamp’s unfinished work <em style="background-color: initial;">The Large Glass, </em>created by the French artist between 1915 and 1923, Wyn Evans is intent on preserving the frailty of the delicate material. These new readings of ‘readymades’, evoking television screens with their rectangular shape and bluish color, now meet the architectural canons of ancient Greece and joyfully play with anachronisms in a spatial dimension.</p>

<p>Wyn Evans has taken on the role of conductor of light. The exhibition can be read as a spatial music sheet, where the visitor’s path is meticulously controlled by the artist and seems to mirror the lines traced by the artworks. Wyn Evans’s pieces are more akin to Jesús-Rafael Soto’s colorful installations, which invite the visitor to wander between them, than to Dan Flavin’s neon lights, which are often displayed against a wall, motionless. </p><p>A sense of theatricality keeps unfolding with the combination of the LED columns and mobile windscreens, which tenfold their luminous melody through their endless reflections. The artist’s magic goes even further with the reversal he operates throughout the exhibition. While the lights of the static panels come to life as the visitor walks across the room of the ground floor, the works activates themselves around the immobile viewer in the basement, thus suddenly reversing the gravitational.</p><p>As usual, the Welsh artist does not hesitate to sow seeds of doubt in the visitor’s mind with the presence of few gray areas. A pine tree in a pot turning on itself, a gong wrapped in a silver blanket, and transparent chairs punctuated by the beat of piano compositions. If the Paris exhibition is entitled ‘no realm of thought...’, its New York counterpart may be a key to the enigma with its title ‘...no field of vision’. The phenomenological approach of the artist is clear and fully assumed. Rather than locking his artworks into a discourse, Wyn Evans offers them to the viewers’ consciousness and sensory perception, like independent organs in the here and now of their unique experience. </p>

<p>This article is part of a yearlong collaboration between Paris+ par Art Basel and <em style="background-color: initial;">Numéro art</em>. Click&nbsp;<a href="https://www.numero.com/fr/art/cerith-wyn-evans-galerie-marian-goodman-exposition-paris">here</a> to read&nbsp;the original article.</p><p>Cerith Wyn Evans is represented by&nbsp;<a href="https://www.artbasel.com/catalog/gallery/1198/Marian-Goodman-Gallery">Marian Goodman Gallery</a> (New York, London, Paris), <a href="https://www.artbasel.com/catalog/gallery/1316/White-Cube">White Cube</a> (London, Hong Kong, Palm Beach) and&nbsp;<a href="https://www.artbasel.com/catalog/gallery/1448/Taka-Ishii-Gallery">Taka Ishii Gallery</a> (Tokyo).</p><p>‘no realm of thought...’<br />Until February 25, 2023<br />Marian Goodman Gallery, Paris</p><p>‘...no field of vision’<br />Until March 4, 2023<br />Marian Goodman Gallery, New York</p><p>Matthieu Jacquet is a journalist and art critic based in Paris. He writes about art and fashion for <em style="background-color: initial;">Numéro </em>and <em style="background-color: initial;">Numéro art</em>.</p><p>English translation: Emma Naroumbo Armaing.</p><p>Published on February 7, 2023.</p><p>Caption for full-bleed images:&nbsp;Installation views of Cerith Wyn Evans’s exhibition&nbsp;‘no realm of thought...’, Marian Goodman Gallery, Paris, 2023. Courtesy of the artist and Marian Goodman Gallery.</p>

title_style_2

<section></section><section> <section><main><div><section></section><section> <section><main><div><section></section><section> <section><main><div><div><section></section><section><section><main><div><section></section><section><section><main><div><div><section></section><section><section><main><div><section></section><section><section><main><div><section></section><section><section><main><div><section></section><section><section><main><div><section></section><section><div><div><section><main><div><div><p>Farah Al Qasimi, Gabrielle Goliath, and Vivan Sundaram remember the legendary curator</p></div> </div><section></section></main></section></div></div></section></div><section></section></main></section></section></div><section></section></main></section></section></div><section></section></main></section></section></div><section></section></main></section></section></div> </div><section></section></main></section></section></div><section></section></main></section></section></div> </div><section></section></main></section></section></div><section></section></main></section></section></div><section></section></main></section></section><section> <section><main><section></section></main></section></section> <section></section>

Stories

Three Sharjah Biennial 15 artists discuss the legacy of Okwui Enwezor

<section></section><section> <section><main><div><div><section></section><section> <section><main><div><div><section></section><section><section><main><div><section></section><section><section><main><div><section></section><section><section><main><div><section></section><section><section><main><div><section></section><section><section><main><div><div><section></section><section><div><div><section><main><div><div><p>‘The country’s history is splattered with blood’</p></div> </div><section></section></main></section></div></div></section></div> </div><section></section></main></section></section></div><section></section></main></section></section></div><section></section></main></section></section></div><section></section></main></section></section></div><section></section></main></section></section></div> </div><section></section></main></section></section></div> </div><section></section></main></section></section><section> <section><main><section></section></main></section></section> <section></section>

Rokhaya Diallo responds to Faith Ringgold’s map of violence in America

<section></section><section> <section><main><div><div><section></section><section> <section><main><div><div><section></section><section> <section><main><div><section></section><section><section><main><div><div><section></section><section><section><main><div><section></section><section><section><main><div><section></section><section><section><main><div><div><section></section><section><div><div><section><main><div><div><p>The French-Algerian artist has embarked on a long-term project with the Théâtre de Gennevilliers, near Paris</p></div> </div><section></section></main></section></div></div></section></div> </div><section></section></main></section></section></div><section></section></main></section></section></div><section></section></main></section></section></div> </div><section></section></main></section></section></div><section></section></main></section></section></div> </div><section></section></main></section></section></div> </div><section></section></main></section></section><section> <section><main><section></section></main></section></section> <section></section>

Mohamed Bourouissa heads to the theatre

The Welsh artist evokes Frank Stella, Alexander Calder, and Marcel Duchamp in double exhibitions at Marian Goodman Gallery in Paris and New York

Welcome,

探索更多相關內容